From Servant to Savant: Musical Privilege, Property, and the French Revolution exposes the fundamental role that the French Revolution played in the emergence of modern professional musicianship. Geoffroy-Schwinden demonstrates how the French Revolution set the stage for the emergence of so-called musical "Romanticism" among the likes of Beethoven and the legacies that continue to haunt musical institutions and industries.
From Servant to Savant: Musical Privilege, Property, and the French Revolution exposes the fundamental role that the French Revolution played in the emergence of modern professional musicianship. Geoffroy-Schwinden demonstrates how the French Revolution set the stage for the emergence of so-called musical "Romanticism" among the likes of Beethoven and the legacies that continue to haunt musical institutions and industries.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Rebecca Dowd Geoffroy-Schwinden is an Associate Professor of Music History at the University of North Texas who works on eighteenth-century music cultures and musical labor during the early Age of Revolution.
Inhaltsangabe
Preface Acknowledgements Abbreviations Note on Translation of Sources Introduction On Privilege, Property, and Professionalization The Abolition of Privilege The Politics of Historiography and the Archive Chapter Summaries Part I Musical Privilege Chapter 1 Legal Privilège and Musical Production The Privilege to Perform Musical Privilege in Publishing, Commerce, and Manufacturing Privilege as Property The "Dilution" of Privilege Chapter 2 Social Privilège and Musician-Masons French Masonry, Music, and Parisian Sociability Brother Servants and Occasional Brothers Talented Brothers, Architects of Music, and Free Associates Fellow Professionals and Savants "A Little Lesson in Social Harmony" Part II Property Chapter 3 Private Property: Music and Authorship Proprietary Tremors on the Eve of Revolution From Musical Privilege to Musical Property The "Declaration of the Rights of Genius" Chapter 4 Public Servants From Pleasing Paris to Serving the Nation An Institution of Their Own Patriotic Servants Professionalization and Public Patronage Chapter 5 Cultural Heritage: Music as Work of Art Music and the Fine Arts under the Revolution The Conservatory's "Museum" of Musical Works The Museum's Imperial Agenda "The Edifice is Rising" Cultural Property and Artworks for the Future Chapter 6 National Industry: Music as a "Useful" Art and Science Music, the Useful Arts, and Mechanical Invention Interlude: A Method in the Madness Mechanical Innovations: Useful to Whom? The Conservatory's Design for a "Romantic Machine" Postlude: A "Detractor" Breaks his "Silence" Conclusion: Privilege by Any Other Name Appendix Bibliography Index
Preface Acknowledgements Abbreviations Note on Translation of Sources Introduction On Privilege, Property, and Professionalization The Abolition of Privilege The Politics of Historiography and the Archive Chapter Summaries Part I Musical Privilege Chapter 1 Legal Privilège and Musical Production The Privilege to Perform Musical Privilege in Publishing, Commerce, and Manufacturing Privilege as Property The "Dilution" of Privilege Chapter 2 Social Privilège and Musician-Masons French Masonry, Music, and Parisian Sociability Brother Servants and Occasional Brothers Talented Brothers, Architects of Music, and Free Associates Fellow Professionals and Savants "A Little Lesson in Social Harmony" Part II Property Chapter 3 Private Property: Music and Authorship Proprietary Tremors on the Eve of Revolution From Musical Privilege to Musical Property The "Declaration of the Rights of Genius" Chapter 4 Public Servants From Pleasing Paris to Serving the Nation An Institution of Their Own Patriotic Servants Professionalization and Public Patronage Chapter 5 Cultural Heritage: Music as Work of Art Music and the Fine Arts under the Revolution The Conservatory's "Museum" of Musical Works The Museum's Imperial Agenda "The Edifice is Rising" Cultural Property and Artworks for the Future Chapter 6 National Industry: Music as a "Useful" Art and Science Music, the Useful Arts, and Mechanical Invention Interlude: A Method in the Madness Mechanical Innovations: Useful to Whom? The Conservatory's Design for a "Romantic Machine" Postlude: A "Detractor" Breaks his "Silence" Conclusion: Privilege by Any Other Name Appendix Bibliography Index
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